Saudi artist Nada Halabi explores dreams through artwork
Nada Halabi: I get a lot of inspiration from travel, so when I go to Europe, I love to visit old and contemporary museums to get ideas
Halabi: I lose myself while painting, and sometimes I paint something, then paint something over the top of it if I’m not content, until I’m happy with the end result
Updated 13 June 2024
Rahaf Jambi
RIYADH: Contemporary Saudi artist, Nada Halabi, is exhibiting her “Dreams Unveiled” collection at Ahlam Gallery in Riyadh from June 4-15.
“There’s a lot of dreams in these paintings,” Halabi told Arab News. “So, it’s like all the years accumulated with time and all my dreams, like sometimes I wake up at 5:00 a.m. and write down what I see, and when I wake up again, I paint.”
Some of her works are inspired by the Renaissance era, a period of European cultural, artistic, political and economic “rebirth” after the Middle Ages.
“I enjoy combining Renaissance art with a contemporary touch of flair, and I chose Renaissance characters because I believe their style at that era was exceptional, and they were the true artists, so I transformed some of them into contemporary art,” said Halabi, who enjoys experimenting with different styles, colors and sizes.
Many things have influenced Halabi’s work as an artist. She enjoys traveling to different museums and finds inspiration in historic places and things.
“I get a lot of inspiration from travel, so when I go to Europe, I love to visit old and contemporary museums to get ideas. Then, when I return to Saudi Arabia, I just paint nonstop because everything is so new on my mind,” she said.
Halabi’s works reflect her time-consuming process.
“I lose myself while painting, and sometimes I paint something, then paint something over the top of it if I’m not content, until I’m happy with the end result,” she said.
The artist has clients of all ages. Some of her clients are art collectors, while others own museums.
She studied fine art at the Academie Libanaise de Beaux Arts in Lebanon before relocating to London and then Los Angeles, where she received more guidance from a well-known American artist. She has trained at schools of art in the UK and the US, and exhibited her work in exhibitions and galleries in the Middle East.
In her current exhibition, there is a section dedicated to Lebanon — featuring newspapers and the neon words “Disconnected Roots.”
Halabi said: “I lived in Saudi Arabia longer than I did in Lebanon, even though I was born and raised there, and this artwork shows how many countries are connected yet at the same time are disconnected due to political conflicts.”
Jeddah’s Islamic Arts Biennale to return under theme ‘And All That Is In-Between’
Updated 25 September 2024
Jasmine Bager
RIYADH: The Hajj Terminal in Jeddah will play host to the second edition of the Islamic Arts Biennale from Jan. 25 to May 25.
Organized by the Diriyah Biennale Foundation, this edition explores how faith is experienced, expressed and celebrated through emotions, thoughts and creation.
Following the success of the first Islamic Arts Biennale in 2023 — which ran under the theme “Awwal Bait” or “First House” — this time it is titled “And All That Is In-Between.”
There will be over 30 global institutions participating from countries including Saudi Arabia, France, Egypt, Indonesia, the UK and US.
The showcase will include more than 500 historical artifacts and contemporary artworks including pieces from Makkah and Madinah. They have been loaned by museums including the Louvre in Paris and the Victoria and Albert Museum in London.
In addition, more than 20 artists and collectives from Saudi Arabia and beyond will present new commissions, including Libyan artist Nour Jaouda.
Saudi Arabia’s Minister of Culture Prince Badr bin Abdullah bin Farhan, who serves as chairman of the board of trustees of the Diriyah Biennale Foundation, highlighted the transformative power of the arts in a statement to Arab News.
“Building on the remarkable success of the inaugural edition, the second edition of the Islamic Arts Biennale comes with greater ambition, expanded partnerships and a diverse selection of artistic and cultural institutions, patrons, as well as artists from Saudi Arabia and countries that have rich Islamic culture and traditions,” Prince Badr said.
Aya Al-Bakree, CEO of the Diriyah Biennale Foundation, said the event was growing “through its expert curatorial leadership, and in the participation of world-leading institutions and artists.”
Al-Bakree added that the program would “cement the biennale as a global platform for cultural exchange and a reference point for new research into the field.”
The biennale’s curatorial team is led by Julian Raby, Amin Jaffer and Abdul Rahman Azzam, with Saudi Arabia artist Muhannad Shono as the curator of contemporary art.
Highlights include celestial navigation, Islamic gardens and a competition for the design of a new prayer space, with the winning entry being constructed on-site.
The Vatican Library will participate in the event, showcasing several works from its collections, in “The Art of Numbers” display at the Al-Madar section of the biennale.
“The esteemed collaboration between the library and the biennale offers a tangible opportunity for fostering fraternity through universal symbols, which serve as powerful tools for understanding and connection, promoting dialogue and cooperation among diverse cultures,” archivist and librarian Angelo Vincenzo Zani said.
“This significant project aspires to build bridges between the past, present and future, celebrating the rich diversity of artistic expressions within Islamic culture and standing as a concrete model of integral anthropology.”
The prefect of the Vatican Library, the Rev. Don Mauro Mantovani, said the works going on display at the biennale were extremely rare and invaluable.
“Since the dawn of civilization, numbers, from the simplest contemplation of quantities and relationships among entities to the most intricate mathematical systems and cutting-edge digital technologies, have been a constant companion to human history, forging connections and building bridges between peoples, cultures, societies, as well as philosophical and religious perspectives,” he said.
ALULA: The Azimuth Festival began in AlUla on Sept. 19, attracting a lively crowd that danced to the beats of techno and EDM, courtesy of a lineup featuring world-renowned DJs and artists from across the globe.
The first day featured a stellar lineup, including Ben Bohmer, YokoO, Ghostly Kisses, The Blaze, Monolink, Eli & Fur, Amine K, and many Saudi DJ’s performing on the Hive stage.
Ahead of his performance, German DJ Ben Bohmer shared his excitement with Arab News: “I’m here in the stunning AlUla in Saudi Arabia. It’s my first time both visiting and performing in this country. I’m thrilled to be here, and I hope everyone is having an amazing time.”
The first day featured a stellar lineup, including Ben Bohmer, YokoO, Ghostly Kisses, The Blaze, Monolink, Eli & Fur, Amine K, and many Saudi DJ’s performing on the Hive stage. (Supplied)
Running from dusk until dawn, the festival embraces the theme “Until the Sun Comes Up,” with performances extending until 7 a.m.
The festival featured two stages: The main stage and the Hive stage, where local artists took the spotlight.
DJ Cosmicat, returning for her third consecutive year, shared her excitement about closing out the Hive Stage on the first night: “Tonight, I’ll be the final act on the DJ stage from 5:20 a.m. until 7 a.m. The vibe is incredible, and the music is calm, perfectly suited to AlUla’s desert atmosphere.
Set against the stunning backdrop of the AlUla desert, the venue provided the perfect space for music-lovers of all ages and nationalities to gather, dance and enjoy the experience. (Supplied)
“It allows everyone to take in the beauty of this place and connect with one another. Each year, I see the festival evolving, with new faces and exciting developments,” she said. “I’m so proud of everything happening here. The audience at Azimuth has a distinct taste in music, and I am thrilled because the music I love aligns with this year’s lineup, featuring artists like Eli & Fur, Ben Bohmer and James Blake, all of whom have influenced my sound.”
The fourth Azimuth Festival has celebrated individuality, with attendees showcasing distinctive outfits that reflected their personalities and musical preferences. Set against the stunning backdrop of the AlUla desert, the venue provided the perfect space for music-lovers of all ages and nationalities to gather, dance and enjoy the experience.
The festivities on Thursday began with a captivating 80-minute set by internationally acclaimed DJ YokoO, who displayed his two decades of expertise in house music.
The fourth Azimuth Festival has celebrated individuality, with attendees showcasing distinctive outfits that reflected their personalities and musical preferences. (Supplied)
Ghostly Kisses then took the stage, mesmerizing the audience with an enchanting performance, followed by The Blaze, who kept the energy alive.
Under the stars, Ben Bohmer delivered a stellar set, setting the tone for the night. Monolink followed with an engaging performance, leading into a dynamic set by Eli & Fur.
Amine K closed out the first night, perfectly capturing the festival’s “Until the Sun Comes Up” theme.
Both Thursday and Friday nights also featured the Hive Stage, which spotlighted a diverse lineup of local, regional, underground and emerging artists.
In memory of Safeya Binzagr: ‘She had a remarkable eye for beauty’
The Saudi artist, who died earlier this month, led an inspiring life of a ‘true pioneer’
Updated 20 September 2024
Rawaa Talass
DUBAI: Safeya Binzagr, one of Saudi Arabia’s foremost female artists, died on Sept. 12 at the age of 84. Art institutions, artists, cultural experts and enthusiasts and former students were quick to pay tribute.
Among them was the influential Swiss curator and art critic Hans Ulrich Olbrist, who posted a picture of a handwritten note from Binzagr from 2022. “If you have the will, you will,” it read; a quote that encapsulates Binzagr’s own story as a persevering artist, who has been affectionately called “the mother of Saudi art.”
Binzagr was born in 1940 in the Harat Al-Sham neighborhood of Jeddah, a place she developed a long-lasting bond with. From a young age, at a time when it was rare for Saudi and Arab women to travel, Binzagr had the opportunity to see the world outside of the Kingdom. When she was seven, her family relocated to Egypt, where she was educated until high school.
'Zabun' 1969. (Supplied)
Although she was away from her beloved Jeddah, the streets of Cairo reminded her of home. “The scent of the old alleys lingered with her, their images dwelled in her memory, and a strong sense of nostalgia pulled her back to a special place enriched by the warmth of its people, their valuable customs and traditions,” reads a statement published by Darat Safeya Binzagr, the late artist’s cultural center.
England played an important role in her formative years too. After completing her education in Egypt, Binzagr moved there to attend finishing school, and in 1976, she graduated with a degree in drawing and graphics from London’s prestigious St Martin’s School of Art.
1968 was a defining year for the artist, then in her late twenties. She showed her paintings publicly for the first time in the Kingdom (along with her Saudi contemporary, the late Egypt-trained artist Mounirah Mosly) at Dar at-Tarbiyah al-Haditha School in Jeddah, making them reportedly the first women to exhibit their art in Saudi Arabia.
Traditional costumes inside Darat Safeya Binzagr. (Supplied)
During the 1970s and 1980s, the ever-active Binzagr held shows in Jeddah (where she eventually returned), Dharan, Madinah, London, Paris and Geneva. She continues to be honored in public events decades later. For instance, at the Diriyah Biennale in Riyadh earlier this year, a selection of her colorful drawings of women in traditional Saudi attires charmed audiences.
Binzagr’s oeuvre was mostly devoted to telling a variety of narratives surrounding Saudi culture, everyday scenery and architectural heritage. Whether depicting a wedding ceremony or pilgrims at the Holy Kaaba, children playing games or hardworking fishermen, she was a dedicated chronicler of her surroundings, but also a preserver of native traditions, which some were forgetting as the country rapidly modernized.
Perhaps Binzagr’s greatest work is “Al Zabun,” her stunning 1969 portrait of a woman dressed in a bright yellow gown, seated against an ornamental background. It has been described as “The Arab Mona Lisa” or “The Mona Lisa of Hijaz.” The title, according to a statement from Darat Safeya Binzagr, refers to the type of dress the woman is wearing.
'Memories' 1987. (Supplied)
“The bodice underneath, which served as a vest or bra, was fastened by six buttons of silver, gold or diamonds — depending of her wealth — all connected by a chain,” the statement explains. “Her hair is worn in the Mihrama wa Mudawwarah style, in which the hair was braided with a cotton scarf coiled around the head, then covered with a cap.”
But arguably Binzagr’s greatest achievement in her storied career was the establishment of her namesake cultural center in Jeddah in 2000, where countless students have had the opportunity to study art, thanks to Binzagr’s generosity and commitment to education.
Safeya's paintings. (Supplied)
One of the center’s former pupils, artist Daniah Alsaleh, told Arab News: “I had the privilege of studying at Safeya Binzagr’s atelier from the early 2000s until around 2008, under the guidance of painter Dorothy Boyer. Safeya created a unique space where students could immerse themselves in the principles of drawing and painting, something that was quite rare at the time. She would often visit our lessons, sharing her personal experiences and stories about her work. Her passion extended beyond art — she was a dedicated collector of traditional Saudi costumes, tea cups, and various artifacts, and had a remarkable eye for beauty. Safeya also opened her extensive art library to the public, fostering a sense of community and education.
“I am incredibly grateful for the impact she had on my artistic journey,” Alsaleh continued. “Safeya was a true pioneer, dedicated to both art and education, and her contributions will continue to inspire many.”
Russ, Jason Derulo, more added to MDLBEAST Soundstorm 2024 lineup
Updated 20 September 2024
Arab News
DUBAI: Saudi Arabia’s MDLBEAST announced on Thursday the star-studded lineup of artists and DJs from around the world for its 2024 Soundstorm music festival, scheduled to take place from Dec. 12 to 14.
The lineup for the festival’s fifth edition includes US rap stars Tyler, the Creator, Jason Derulo and G-Eazy. Rising hip-hop artist Russ and Nigerian singer Tems, known for her R&B and Afrobeat hits, are also set to perform.
House music fans can look forward to sets from Black Coffee, Afrojack, DJ Snake and trance legend Armin van Buuren. The festival will also feature techno and house acts like Adam Beyer, Bedouin and Ricardo Villalobos, while David Guetta, James Hype and Morten promise electrifying performances.
The electronic lineup also features renowned acts like Meduza, Kölsch, Sonny Fodera, and Folamour, alongside emerging talents Miss Monique, Tita Lau, and Megatronic, offering a diverse range of styles.
The festival will also host previously announced stars, including Eminem, Muse, Thirty Seconds to Mars, Adriatique, Boris Brejcha, Marco Carola, Richie Hawtin, Brina Knaus, Chelina Manuhutu, Fleur Shore, Baloo, Anmarz, Dorar and Vinyl Mode.
As the region’s biggest music festival, Soundstorm delivers a vibrant mix of music styles and genres from around the world.
Ramadan Al-Haratani, CEO of MDLBEAST, said in a statement: “Soundstorm, the region’s biggest music festival, has successfully made a remarkable impact on the regional and global music scene, making it an eagerly anticipated annual festival for music fans worldwide.
“This has contributed to enhancing the Kingdom’s position in the music entertainment sector.”
REVIEW: Netflix’s ‘Officer Black Belt’ is a confusing genre mash-up
South Korean film is billed as an action-comedy, but the laughs rapidly fade
Updated 20 September 2024
Adam Grundey
DUBAI: South Korean director Jason Kim’s latest project, “Officer Black Belt,” is marketed as an action-comedy. And for the first 40 minutes or so, you can see why: it sets out as a so-so take on the “odd couple/buddy cop” trope. But then comes a shift.
The story: likeable-but-aimless Lee Jung-do (Kim Woo-bin) spends most of his time hanging with his gamer friends and working as a delivery driver for his dad’s restaurant. One night, he happens across a probation officer who’s being badly beaten by one of the violent ex-cons whose ankle bracelets he monitors. Jung-do, it turns out, is a master martial artist. He rushes to help the probation officer, likely saving his life.
Probation department manager Kim Sun-min (Kim Sung-kyun) offers Jung-do a temporary job while the officer he saved recovers. He accepts, and the two quickly become friends — despite a considerable age gap and what at first seems like a major difference in lifestyle choices. There are some vaguely humorous scenes as the two get to know one another and as Jung-do gets to grips with his new role — and with several parolees.
The general goofiness of these early scenes takes a turn when a notorious child abuser is released from prison and becomes the responsibility of the already over-worked probation department. The fight scenes are no longer comic-book-style entertainment, but grimly lethal, and the storyline gets especially dark when a young girl is abducted with the intent of forcing her to ‘star’ in a video for a dark web pornographer.
It's impossible to overstate just how jarring this narrative and stylistic shift is; but it’s a bit like watching an episode of “Friends” and having Phoebe turn up at the coffee shop bloodied and traumatized having been brutally assaulted. It’s not just a shock, but a shock that feels entirely out of place contextually.
Whether that’s intentional, as an attempt to subvert audience expectations, or simply sloppy storytelling is hard to say — and the result is ultimately the same: confusion. Which is only compounded when the director delivers a ludicrously saccharine, plot-hole-riddled ending.
Woo-bin, who shows himself to be a charismatic and capable lead, deserves better.
